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THE
ENGLISH HYMN
Its Development and Use in Worship
By
Louis F. Benson

英文詩歌
與
其演變發展和在敬拜中的使用
路易士班生

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路易士班生（Louis Fitzgerald Benson, 1855-1930）畢業於賓州大學法律系，僅從事法律事務七年。1877年，他進入普林斯頓神學院，其父為該校董事。畢業後，路易士被按牧為賓州德國城的救贖者長老教會的牧師。他亦成為一位研究詩歌的最重要的權威人士；他的圖書室就有9,000冊之多的詩歌本。1895年，班生協助編輯了美國長老教會的詩歌本。

Benson grad­u­at­ed from the Un­i­ver­si­ty of Penn­syl­van­ia law school, but prac­ticed law on­ly sev­en years. In 1877, he en­tered Prince­ton The­o­log­ic­al Sem­in­ary, where his fa­ther was a trust­ee. Up­on grad­u­a­tion, Louis was or­dained a min­is­ter and pas­tored at the Pres­by­ter­i­an Church of the Re­deem­er in Ger­man­town, Penn­syl­van­ia. He al­so be­came a lead­ing au­thor­i­ty in hymn­ol­o­gy; his lib­rary even­tu­al­ly grew to 9,000 vol­umes. In 1895, Benson helped edit The Hymn­al of the Pres­by­ter­i­an Church in the United States of Amer­i­ca. 

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路易士班生並非是「獨頌詩篇」的支持者，但是從他所研究的詩歌發展歷史，我們清楚的認識到在宗教改革時期，路德和加爾文在「會眾吟唱」（congregational singing）的敬拜內容上是分道揚鑣的：路德鼓勵會眾吟唱的敬拜（天主教是用詩班唱拉丁詩歌），因自己深愛德國歌謠，而毫不遲疑地把這些曲目譜入了人寫的歌詞（Metrical Hymn of human composition）成為路德宗永久固定的敬拜元素。加爾文也反對天主教用詩班唱拉丁文詩歌的敬拜，與路德不同的是，他持守聖經在敬拜上的教導：在聖靈，也就是在真理中敬拜（譯者：約四24，合和本翻譯“以心靈和誠實敬拜”是不正確的翻譯），所以不用人寫的詩歌，而完全用神的話，就是受聖靈感動具絕對權威的聖經的《詩篇》作為會眾吟唱的敬拜內容。

加爾文這種具聖經權柄的洞見，以及他在日內瓦教會的施行實例，隨著加爾文派教義的普及，「獨頌詩篇」成為16－17世紀世界各地改革宗教會的辨識特徵。

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CHAPTER I
THE EVOLUTION OF THE ENGLISH HYMN

I. Introductory: Psalmody and Hymnody

1. Early Religious Lyrics in English
2. Congregational Song as a Church Ordinance
3. Psalmody and Hymnody as Rival Systems of Congregational Song
4. The English-speaking Peoples become Psalm Singers 

II. The Hymns appended to the Metrical Psalters (1561-1635) 
NOT THE Nucleus of an English Hymnody

1. The Hymns Appended to the English Psalter
2. The Hymns Appended to the Scottish Psalter

III. The Promise of an English Hymnody by Translating the old Latin Church Hymns (1538- 1559) fails 37 

IV. The Evolution of the English Hymn from the Metrical Psalm

(1) By way of improving its literary character
(2) By accommodating its contents to present circumstances
(3) By extending the principle of Paraphrase to other parts of the Bible

V. The Evolution of the English Hymn from Devotional Poetry

1. Lack of the Hymnic Motive in pre-Restoration Poets, except Wither
2. The new Hymn Writing (1664-1693): the Predecessors of  Watts

CHAPTER II
THE LITURGICAL USE OF ENGLISH HYMNS

I. The Denominational Divisions of Church Song at the Restoration (1660)

II. John Playford leads a movement to introduce Hymn Singing in the Reestablished Church (1671-1708)

III. Richard Baxter leads a movement to introduce Hymns among the Ejected Presbyterians (1661-1708) 

IV. The Attitude of the Separatists 

1. The General Baptists oppose "Promiscuous Singing"
2. The Society of Friends excludes "Conjoint Singing"  
3. Benjamin Keach introduces Hymns among the Particular Baptists
4. The Independents join with the Presbyterians in introducing Hymns  

CHAPTER III
DOCTOR WATTS' "RENOVATION OF PSALMODY

I. His Proposal of an Evangelical "System of Praise" (1707)

II. His Fulfilment: "Watts's Psalms and Hymns"  

III. His Success: The Era of Watts 

I. In England 
1. He dominates the worship of the Independents 
2. His ascendency over the Presbyterians terminates in a Unitarian Hymnody 
3. His ascendency over the Baptists leads up to a Homiletical Hymnody 

II. In Scotland 
1. His Influence: the "Translations and Paraphrases" (1745-1781) 
2. Early Scottish Hymn Singing 

CHAPTER IV
DR. WATTS' "RENOVATION OF PSALMODY" (Continued)

IV. His Success: The Era of Watts in America 

I. The Congregationalists (1735-1834)  
1. The Great Awakening turns the Churches to his Evangelical "System of Praise" 
2. An American School of Church Music 
3. The Liberals compile "Non-Trinitarian" Hymn Books (1753-1823) 

II. The Presbyterians (1739-1827

1. "New Side" Churches venture to sing Watts' "Imitations"  
2. The Great "Psalmody Controversy" 
3. Hymn Singing under the new (1788) "Directory for Worship" 

III. The Baptists (1754-1827) 

1. Their gradual Adoption of Watts' "Psalms and Hymns" 
2. Obstacles to Watts' Ascendency 
(1) Their desire for denominational Hymn Books 
(2) Their predilection for "Spiritual Songs"

V. His Influence upon the English Hymn 

He was not "the Inventor of Hymns in our Language" 
But established a definite type of Congregational Hymn 
Its sphere — the Common Ground of Experience
Its form — evolved from the Metrical Psalm 
Its content — not the paraphrase of Scripture but an evangelical response to it 208 

VI. His Influence upon Hymn Writing: the School of Watts 

VII. His Influence upon Hymn Singing 
He led in the establishment of Congregational Hymn Singing in the stead of Psalm Singing 

CHAPTER V
'' THE HYMNODY OF THE METHODIST REVIVAL

I.  Its Antecedents and Beginnings (1721-1738)
1. John Wesley aims to uplift Parochial Psalmody
2. The Moravians reveal to him the spiritual potentiality of the Hymn
3. He makes Hymn Books as a missionary, and as an associate of Moravians

II. The Methodist Hymnody (i 739-1904) 
1. The "Movement," and Charles Wesley as its Poet 
2. Hymn Books for "The People called Methodists" 

III. The Methodist Singing 
1. John Wesley as Music-master 
2. The new Type of Congregational Song 

IV. The Part of the Wesleys in the Development of the English Hymn 

1. Their great enrichment of Hymnody: by writing, translating, and editing 
2. Their Modification of the Ideal of the Hymn  
(1) The Evangelistic Hymn 
(2) The fervid Hymn of Individual Experience 
(3) The Churchly Hymn 
(4) The new Poetic Standard of Hymnody  

V. The Wesleyan Hymns in the Church at Large 
The fervid Hymn singing does not spread into the Churches. 
Obstacles to the Diffusion of the Hymns  
(1) The body of the Hymns ill-adapted to general use
(2) The "Reproach of Methodism" precludes a general knowledge of them  

CHAPTER VI
THE HYMNODY OF THE METHODIST REVIVAL (Continued)

VI. The Moravian Hymnody 
1. After the Breach with Wesley the Moravians develop an eccentric Hymnody (1741-1754) 
2. Wesley repudiates it (1749)  
3. The Normal Period of Moravian Hymnody (1789-1901)

VII. Deflexions of Methodist Song after Wesley's Death  
(1) The Methodist New Connexion (1796) 
(2) Primitive Methodists (1809) 
(3) United Methodist Free Churches (1827) 
(4) Bible Christians (1819) 

VIII. The Hymnody of American Methodism 
1. Wesley's effort to control it (1784) 
2. The Struggle between "Mr. Wesley's Hymns" and Popular Songs (1784-1848) 
3. A New Type: The Camp Meeting Hymn (1800) (Christians and Cumberland Presbyterians) 
4. Efforts to reinstate and to modernize the Wesleyan Hymnody (1847-1905) 

IX. Diverging Currents of American Methodist Hymnody 
(1) The Reformed Methodist Church (1814) 
(2) The Methodist Society (1820)
(3) The African Methodist Episcopal Church (18 18) 
(4) Methodist Protestants (1830) 
(5) Wesleyan Methodists and Free Methodists (1843)  
(6) Review of American Methodist Hymnody 
Appendix — 
(7) The United Brethren in Christ (1826-1890) 
(8) The Evangelical Association (1834-1877) 

CHAPTER VII
THE HYMNODY OF THE EVANGELICAL REVIVAL

I. In Whitefield's Circle (1741-1770) 

II. In Lady Huntingdon's Connexion (1764-1865) 
 
III. Some By-Streams of the Hymnody (1748-1808) 

IV. In the Church of England (1760-1819) 
1. Introduction of Hymn Singing by the early Evangelicals (1760-1776) 
2. "Olney Hymns" (1779) fills out the Type of the Evangelical Hymn 
3. Movements to introduce Hymns in the main body of the Church (1724-1816) 
(1) The Stand-fasts 
(2) The less extreme Conservatives 
(3) Hymn Books for private use 
(4) Hymn Books of the London Charities 
(5) Hymns within the covers of the Prayer Book 
4. The Period of Compromise: "Psalms and Hymns" in Parish Churches (1785-1819)  

CHAPTER VIII
THE EVANGELICAL HYMNODY IN AMERICA

I. Its adoption delayed by various causes  

II. Its use by the Baptists  
1. Its early welcome among Regular Baptists (1790-18 50) 
2. Diverging currents of Baptist Hymnody
(1) Freewill Baptists (1797)
(2) The Dunkers (1791) 
(3) The Mennonites 
(4) The Church of God (1825) 
(5) The Disciples of Christ (1827) 

III. Making its way into Congregational and Presbyterian Churches 
1. The Era of Revival (1790-1832): "Village Hymns" 
2. The Era of Compromise (1828-1857): "Psalms and Hymns" 
(1) Presbyterian Psalms and Hymns (1831)  
(2) Old school Psalms and Hymns (1843) 
(3) New school Psalms and Hymns (1843) 
(4) Presbyterian Hymnody in the 40's
(5) Congregationalist Psalms and Hymns (1836-1845) 

IV. Hymn Singing in the Protestant Episcopal Church 
1. The Beginning of Hymn Singing (1786) 
2. The Evangelical Period (1789-1858) 

V. English Hymns in THE Reformed Dutch Church (1767-1868) 

VI. English Hymns in the German Reformed Church (1800- 858) 

VII. English Hymns in the Lutheran Church (1756-1859)

VIII. Diverse Currents of Hymnody 

1. Early Universalist Hymns (1776-1849)  
2. Swedenborgian Hymnody (1792- 1830) 
3. "Shaker Music" (1774-1893) 
4. Adventist Hymns (1843-1887) 
5. Mormon Hymns (1830-1891) 

CHAPTER IX
THE HYMNODY OF THE ROMANTIC MOVEMENT

I. The Literary Hymn 
II. Reginald Heber's Romantic Hymnal (1827) 
III. The Literary Movement in England 

A. In the Church of England 
1. It is overshadowed by the Liturgical Movement
2. A later Literary School (i 862-1 899) 

B. James Martineau provides Unitarians with a "Poetry of pure Devotion" (1840) 

C. The Baptists cHng to a Homiletical Hymnody (1827- 1879) 
D. The Enrichment of Congregationalist Hymnody 
1. The Ministers of Leeds break the Watts tradition (1853) 
2. The Rivulet Controversy (1856)
3. The Advance toward Heber's Ideal: Loss and Gain (1859-1887) 

IV. The Literary Movement in America 
A. "Songs of the Liberal Faith"  
1. A notable series of Hymn Books (1830- 1864) 
2. Unitarian Hymnody (1830-1864) 
3. Modern Tendencies (1861-1894) 

B. The Enrichment of Congregationalist and Presbyterian Hymnody is left to private enterprise. 
1 . Henry Ward Beecher leads the movement for Congregational Singing (1851) 
2. The Enrichment of Hymnody for Homiletical Ends (1855-1858) 
3. The New Type of Church Hymnal (1855) 
4. Dr. Robinson's popular Hymnals (1862-1875)

C. Other Denominations follow the Unitarian Lead. 
1. "The Christian Hymn Book" (1863) 
2. The new Universalist Hymnody (1846-1895) 

V. The Offset: The "Gospel Hymn" (1851 to date) 

CHAPTER X
THE HYMNODY OF THE OXFORD REVIVAL

I. It dominates the Church of England 

1. The Movement to restore the "primitive" Church Hymnody (1833)  
2. The Result: the Liturgical Hymn 
3. Early Tractarian Hymnals: John Mason Neale (1836- 1858) 
4. The Emergence of "Hymns Ancient and Modern" (1861) 
5. The Anglican Hymnody and Church Music 

II. Oxford Influences on the Hymnody of English Dissent 

1. Liturgical Ideals in Congregationalist and Baptist Worship (1861-1900) 
2. The Presbyterians enrich Anglican Music (1866) 
3. Catholic Apostolic Hymnody (1864) 
4. Swedenborgian Hymnody (1790- 1880) 

III. Oxford Influences in Scotland and Ireland: Presbyterian Hymn Singing 

1. The Changes in United_PresbyterianHymnody (1848-1877)
2. The Hymnody of the Kirk faUs into the hands of the Liturgical Party (1845-1885) 
3. The Free Church remodels its Hymn Book (1882) 
4. Scottish Hymn Writing 
5. Unauthorized Hymn Singing by Irish Presbyterians (1830- 1894) 
6. The movement for a Common Hymnal yields to Oxford Influences (1870-1898) 

IV. Oxford Influences on American Hymnody 

1. The Appeal of the Latin Hymn (1840-1861) 
2. Hymns Ancient and Modern in the Protestant Episcopal Church (1859-1892)  
3. The Liturgical Controversy in the German Reformed Church (1857)  
4. The new Reformed Dutch Hymnody (1868-1891)  
5. Hymns Ancient and Modern in the Presbyterian Church (1866-1895) 
6. A new type of Congregationalist Hymnal (1887-1893)
7. The Baptists maintain the Homiletical Type till the Century's End 
8. The Lutherans develop a churchly Hymnody (1863-1899) 
9. Anglican Hymnody accommodated to the "New Church" (1863-1911) 

CHAPTER XI
TWENTIETH CENTURY HYMNODY

I. The Influences that have moulded it 

II. How far affected by modern evangelism 

III. Its more exacting literary standard 

IV. Its reversion to a motive more strictly devotional  
V. Its Theology  
1 . Changing religious thought makes this a Period of Revision.  
2. The New Theology demands a new Hymnody

VI. The Hymnody of Social Democracy 

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